Tells the story of Lorenz Hart’s struggles with alcoholism and mental health as he tries to save face during the opening of “Oklahoma!”.

I saw this movie without even the benefit of a trailer. I heard director Richard Linklater was teaming up with Ethan Hawke again and that’s all I needed. Other than knowing it was about Broadway lyricist Lorenz Hart, of whom I knew very little beyond the time period he existed in, I went in very cold. This is a great way to see a flick because everything that unfolds is new and unexpected.

Blue Moon is almost like a filmed play. Almost the entire film save for two quick scenes at the start, takes place in one setting – Sardi’s, the famous New York Broadway bar. It’s opening night for Oklahoma, the first show Hart’s longtime partner Richard Rodgers (Andrew Scott) created without Hart, but with Oscar Hammerstein (Simon Delaney). Hawke has about 80% of the dialogue playing an animated alcoholic Hart who pulls everyone around him into his orbit with larger-than-life tales and a relentless need for connection.

Hawke is nearly unrecognizable playing a man a foot shorter than he is, hiding behind a bad combover and cigar, but the words spill from him like a waterfall of wit and snark. He is completely commanding even when he’s highlighting the sadder aspects of Hart’s edges – his unrequited crush on a girl more than half his age (Margaret Qualley as Elizabeth Weiland), despite his more common homosexual urges, and his dogged pursuit of connection with Rodgers who just seems to want a break from him.

Films like this can feel slow because of the lack of edits and scene changes, but the winning dialogue and great performances (Hawke should really be on the shortlist for Oscar recognition) make it feel brisk and airy. If you don’t mind a talkie, this is a great film.

Jonathan’s grade – A-